I was born on the 8th of March, 1998, in Tarragona and my childhood and formative years were full of art, music and volleyball. Educated at the Escola Elisabeth in Salou, after studying the baccalaureate, in July last year, 2020, I graduated in Fashion Design at LCI Barcelona School of Design and Visual Arts.
My final project was a collection called AJAL1851, which allowed me entry to the coveted Arts Of Fashion Foundation (AOFF) competition in San Francisco, where I was a finalist along with 49 other students from all over the world. The NNPress agency signed me that same September, and thanks to them my designs have appeared in international publications the likes of Vogue Russia and L'Officiel Monaco.
The film of my first collection was selected for the Fashion Films RD competition, an international competition in the Dominican Republic.
In November 2020, the brand project Paola Molet was born, with a first collection presented in the previous edition of the month of April at the 080 Barcelona Fashion.
Since a very early age I have dreamt of fashion, of creating something new with fabrics and patterns. Today I can present myself to others as a designer and my aim is to express everything I feel through my collections and garments.
My goal is to create fashion that is cared for down to the finest detail so that the result is unique, and to meet and share new experiences with professionals in the sector who are as eager as I am to enjoy this wonderful world.
28 octubre 2021
History is repeating itself, and Camille Claudel is one of those artists who sticks in our mind, of course for her love life and not her work.
Love fell heavily on women who devoted their lives to art and had the misfortune to fall in love with another artist.
The mechanism is subtle yet true: the women ended up as muses and the men as icons, not only of their time but also of their artistic movement and of all those coming after them who yearn to be like the genius, even if it’s just in the white of their eyes. The man. The creator. The allegory of perfection.
Camille Anastacia Kendall Maria Nicola Claudel, born in 1864, was a French sculptor from a wealthy family. She became interested in sculpture from a very early age, even then showing her skills by moulding and designing clay figures inspired by her relatives.
At the age of twelve she moved to Nogent-sur-Seine, which was, without a doubt, a great boost for her career. In 1882, she was accepted into the School of Fine Arts in Paris, joining the Colarussi Academy. This was the year that she met Rodin, who was a replacement teacher at the school.
From then on, Camille began to pose for the artist and all his works are overrun with her features. Camille was only nineteen at the time, whereas as Rodin was forty three. However, this did not prevent them from having a particularly stormy love affair. Like many others, Camille was unable to escape the clutches of the intense artist who moulded her to his liking with his hands.
The beauty and talent of Camille’s work has been overshadowed by her tempestuous relationship with Rodin. He was a promiscuous, married man. Camille was not his only lover during this time. The fights and the jealousy were a keynote during their almost fourteen-year relationship.
As usual, the genius of Camille faded away in the shadows of Rodin’s personality. We now know that the artist had a hand in many of her works, although he constantly underrated her. She herself acknowledged as such in her correspondence with the artist, saying that the works he claimed as his own were a result of her talent.
Rodin subjected Camille to constant harassment, reproaches and humiliation. He showed off with other women in her presence, and then incessantly promised her that she would be the only women in his life. This was never to be the case, and he even persuaded Camille to have an abortion, obsessed as she was with her love for the artist.
In 1898, she finally plucked up enough courage to leave him.
From then on, the artist locked herself in her studio and tirelessly started to sculpt children’s heads that she destroyed almost immediately afterwards. On 10th March 1913, three nurses sent by her family broke the door of her studio down and put her in a straight jacket. She was then admitted to a psychiatric hospital where she spent the rest of her life.
She was diagnosed with from a ‘systematic persecution delirium mostly based upon false interpretations and imagination’, which sums up perfectly the price to be paid for not sharing the destiny awaiting the women of the time. She recovered her lost sanity at the end of her life, but nobody claimed her.
Camille died on 19th October 1943 at the age of seventy eight. Rodin, like many others, left a trail of destroyed women in his wake and took with him the genius of an artist whose life he destroyed.
She died alone, at the age of 78, after a life of anguish and cut off from the sculptures that had grown in her hands since a child. He went down in history as a genius worthy of admiration, and his reprehensible behaviour was forgotten.
Camille’s pain is Frida’s pain, Artemisia’s pain, Lee Krasner’s pain, and the pain of so many other women with a brilliant career, destroyed and overshadowed by those who proclaimed to love them. Why are there no female artists? We ask ourselves. Yes, there are. There are thousands. But they have unfortunately been reduced to mere muses: broken dolls shipwrecked in time between pain and oblivion.
In memory of Camille Claudel
Article excerpted from “The Art Market”